grioo.com

[Linguere]

Les melomanes du coupe-decale sont en deuil, le Createur de le Sagacite, le Presi s'en est alle Que la terre lui soit legere.

http://www.abidjanshow.com/a_actu_suite.php?newsid=1262
_________________
The Humanitarian
My Love



Wade, une erreur dans l'histoire du Senegal!
Carpe Diem

[Queen Pokou]

Un voleur s'en est allé.
Un escroc est mort.
Pourquoi ça me laisse à 37?
_________________
Life is not about being. It's about becoming.
_____________________________________

[Alex]

Un voleur s'en est allé.
Un escroc est mort.

Soit plus précis,beaucoup d'entre nous le connaissions comme un grand artiste.

[Benny Da B']

Coupé-Décalé....en français de france : Voler/arnaquer/escroquer (couper) - Fuir (Décaler)

et le célèbre Travailler = aller faire pleuvoir des billets de banques sur la foule ébahie au pays, qui du coup crois qu'on a réussi !

Mouvement de petit "brouteurs" ...nom des petits escrocs à la fausse carte bleue et à la secu sociale.

Voilà le nom de son mouvement et de sa danse...les "valeurs" prônées dans ce courant musical sont aux antipodes de ce dont on a besoin..

[Panafricain]

[MERIKARE]

[Alex]

En fait,je n'avais jamais aimé le coupé-décalé.Je trouve ce rythme un peu trop pauvre mais faut-il le dire Doug Saga a été un véritable penseur,en bien ou en mal cela n'a pas d'importance.Une chose est sur ,il a basé son succès sur des points qui font rêver la jeunesse africaine:


-Musique:il a créé le coupé-décalé,la sagacité(personne ne l'ignore les Africains sont fana de son);
-Habillement: il avait un style qui frappait plus d'un et ses compagnons en faisaient autant(les jeunes aiment s'afficher);
-Argent: il distribueaient(franchement je n'en revient pas,quel signe?).L'argent est la chose qui manque le plus à la jeunesse du continent et Doug l'étalait sans gêne;

Au final,qu'il est été voleur ou tout autre chose une chose est sûr à l'heure actuel sur le continent il est plus populaire que Gbabo et Ouattara.C'est justement ça qui me chiffonne car j'ai l'impression que sur notre continent les artistes(Saga,Olomidé,Eto'o,Drogba) savent mieux s'attirer les faveurs du peuple. Ce qui n'est pas très souvent le cas de nos politiciens.

[Vidékon]

R.I.P Douk Saga.

[Manoah]

Que CELUI qui n'a jamais peché lui jette la premiere pierre !!!!!!

[Chabine]

[Gnata]

[Benny Da B']

[Benny Da B']

[Benny Da B']

J'arrive pas à trouver ce doc...qui pourrait être interessant...

Titre du document / Document title
Frime, escroquerie et cosmopolitisme : Le succes du « coupé-décalé » en afrique et ailleurs (Display, fraud and cosmopolitanism. "Coupé-décalé's" success in africa and beyond)
Auteur(s) / Author(s)
KOHLHAGEN Dominik ; MALAQUAIS Dominique (Editeur scientifique) (a1) ;
Résumé / Abstract

Au cours des trois dernières années, le coupé-décalé s'est imposé comme l'une des principales musiques populaires en Afriaue francophone. Produit par des personnes qui disent avoir « réussi» à l'étranger, le coupé-décalé présente l'ailleurs comme le lieu qui permet d'accéder à la société de consommation pour revenir ensuite se faire célébrer au pays. Il donne expression à des changements générationnels affectant tout autant les modes de vie dans les sociétés africaines que la manière de s'y projeter dans le monde.

Revue / Journal Title
Politique africaine (Polit. afr.) ISSN 0244-7827
Source / Source
Cosmopolis : de la ville, de l'Afrique et du monde
2005 - 2006, vol. 100 (ref. et notes dissem.), [Note(s) : 92-105, 325, 327 [16 p.]]
Langue / Language
Français
Source : Français ; Anglais ;
Editeur / Publisher
Karthala, Paris, FRANCE (1981) (Revue)
Localisation / Location
INIST-CNRS, Cote INIST : 19869, 35400013470340.0040

[Benny Da B']

http://www.afropop.org/multi/feature/ID/709



Dominik Kohlhagen is a scholar of law and anthropology and a researcher in the Laboratoire d'Anthropologie Juridique de Paris at the University of Paris -I and the first academic to publish research on the Ivorian popular music coupé-décalé. His article "Frime, escroquerie et cosmopolitisme : Le succès du 'coupé-décalé' en Afrique et ailleurs" appeared in the journal Politique Africaine in spring 2006.

Coupé-décalé is the hot sound now in Ivory Coast, and it has also spread across Africa and even beyond with amazing success. And in fact it wasn’t even born in Africa to begin with... Can you tell us the story of its origin?

Dominik Kohlhagen: Coupé-décalé appears in a quite particular way and a particular place. It was around 2002, in was not in Ivory Coast, not even in Africa, but here in Paris, more precisely in the Atlantis, which is a quite trendy African nightclub in the northeast of Paris . It was created by a couple of young people: Molaré, Bobo Sangui, Lino Versace, Solo Béton, Douk Saga, who were not musicians and whose initial intention was probably not to create a musical style. They were young immigrants, one can say from a quite modest background, who had achieved a certain financial success and wanted to show off their wealth in some provocative manner. They were known to drive expensive cars, dress in a very fashionable way, to give out money around them and to pay drinks and champagne for everybody in the nightclub. So you can imagine they were on quite good terms with the DJs. And this was the way they got known, because they were known to create a quite joyful atmosphere, they were ambianceurs as one would say in Ivory Coast, people who put others in a good mood. And when they arrived no the dance floor the lights were turned down, and people were asked for acclamations, and this was the way they proceeded to draw attention to themselves and to have the opportunity to create their own dance styles, and a little bit later to create their own music, together with the DJs. So this is the way coupé-décalé appeared first.

So who were these guys? Were any of the French-raised? What do we know about how they made their money or what their real circumstances were?

Dominik Kohlhagen: They were all very recent immigrants, and I hesitate to use the word immigrants; most of them arrived 2, 3, 4, years ago from a very modest background in Ivory Coast. None of them was French born. Most of them succeeded financially very quickly in , by not always very clear and very honest ways -- that’s what people say, one doesn’t know exactly. Some of them have spent some time in prison but this is also rumors, it’s not very clear. What is clear is that they are quite young, between I would say 25 and 35, recent arrivals, and people who succeeded in some way quite quickly after their arrival in .

And these ambiguous activities become central to the message behind the music, right?

Dominik Kohlhagen: If there is a message, what coupé-décalé actually means – well couper in Ivorian slang means to cheat, to cheat somebody, décaler is to run away. So coupé-décalé initially means to cheat somebody and to run away. This message was put forward in quite some provocative way by these young people, saying well we have succeeded here by cheating the whites, or cheating the French and now we are here – and this is the third word which comes all the time in the first songs of coupé-décalé – we are here to work, travailler. Couper, décaler, travailler. And travailler means distribute the money, throw the money away, share it with other people on the dance floor.

The origin of coupé-décalé is quite disputed among some people. Generally one says the first real Douk Saga, celebrated as the inventor of coupé-décalé, lived the fast life before dying from an unspecified illness in 2006song was the “Sagacité” of Douk Saga, whose real name is Stephane Hamidou Doukouré. It is one of these songs that appeared in this night club the Atlantis, but it’s not really sure if it’s the first song. But it’s the origin of this whole movement, many later songs refer to this one as the first song. And Sagacité was the name of the movement, which other artists then later reused as well.

The beginning of this music was quite improvisational, and that is what is unusual about this music: it was a public show of improvisation, of dance movements but also of a new kind of music. From my point of view the influence is quite Congolese at the beginning, I think this is linked to the fact that Congolese music was the music in vogue at this time in African nightclubs. The rhythm is more Congolese than Ivorian, I would say. But there is also an influence of zouglou music and earlier Ivorian music, especially in the way the texts are mixed to, are linked to the rhythm.

So the music was born among Ivorians in Paris . How quickly did it return to Abidjan and spread in the local scene in Ivory Coast?

Dominik Kohlhagen: It went very quickly, only some months later after the first songs had been produced here [in Paris], and it worked in the same way that it worked here; it was the same people that went back to Abidjan as well, who proceeded the same way, who went to nightclubs and made themselves known by distributing money, attracted the attention of the DJs, and who then had the opportunity to produce themselves and to make their show. There was also another context which was probably quite beneficial for these artists: It was the beginning of the Ivorian crisis and there was quite a need for some distraction and something else than only these dark images of war and of a country in crisis, which made the national television produce a lot of music shows which gave these people the opportunity to produce themselves on television.

The time coupé-décalé arrives in Abidjan as far as I know is in the beginning of 2003. The crisis in Ivory Coast started in September 2002, so at this time as you probably know the north of the country was taken by part of the military, a rebellion, and was occupied for almost five years now, because this situation is still going on. It’s not clear if it’s a coincidence that coupé-décalé arrived at this time in Abidjan , but I believe that this situation has probably favored this kind of music, this kind of joyful music in context of crisis. And by the way in the beginning of Ndombolo was also in times of crisis, there are some parallels between the beginning of these two musics.

What’s interesting with coupé-décalé at the beginning is that there is no political message at all. This changes quite quickly but in the beginning, this was really music of people who have succeeded abroad -- which in this sense could be an element as well, you can succeed abroad but you can’t succeed in your country. But first of all it’s a music to dance to, to forget what is surrounding you, and it probably arrived at a very good time. And it has also arrived at a time when there was some national uprising in Ivory Coast and quite a strong manifestation of, we want to save our country and we have our Ivorian culture, and the fact that a music which could be considered a national music, like coupé-décalé, arrived in Abidjan at this time was quite beneficial for this music I would say.

It seems like there are dozens or maybe hundreds of different coupé-decalé artists and songs and dance moves, that ultimately don’t sound all that different from each other, but still have their own energy and flavor...

Dominik Kohlhagen: Well there is an incredibly huge amount of songs and especially of substyles, something very special about coupé-décalé. In the beginning you have sagacité, then quite soon you have prudencia, farot-farot, saute-mouton, sentiment môkô, konami, fouka-fouka, decalé chinois – Chinese décalé – festiboulance, guantanamo , grippe aviaire... In coupe-decale every artist is free to invent his own style, and that is something that has probably made the success of coupe-decale later on, because every artist is free to make reference to other styles which have been invented by other artists; there is quite a solidarity between the musicians this way. And in many songs you can see artists imitating the styles of others, or caling them directly by their name, and this is something very special with coupe-decale. It would be very difficult to denominate all the substyles, there must be hundreds. And every song proclaims to be a substyle almost. Sometimes the difference is very slight only. In the rhythm I would say there are only very slight differences, it’s the way to dance it, to make some gestures, to – well, it’s very difficult to distinguish one from the other. But every substyle has some special movement, some special way to behave, but it’s not necessarily marked on the rhythm I would say. Poster for a major coupé-décalé concert in Paris, 2005. Artists representing other genres are featured guests

So what is the emergence of this style, and this mode of creative expression, telling us about youth in Ivory Coast or elsewhere, and how they are responding to political events and social changes going on around them?

Dominik Kohlhagen: I think something coupe-decale expresses – first of all I think what coupe-decale expresses is an incredible intellectual and artistic energy, which is probably characteristic for Ivory Coast and for West Africa as a whole. But it expresses also a quest for new values, which is somehow expresses in the original text, coupe-decale, to cheat and to run away, but above that there is a general quest that you can find in many songs not just for values but for a common future, for instance there is one question which comes quite frequently in many songs, which is, “On est ou là?” Where are we actually? What’s happening? Where are we? And in quite a recent song of DJ Jacob, together with Kaysha who is from the French Caribbean, the text is “On sait pas ou on va, mais on y va quand même.” We don’t know where we’re going but we go there nevertheless. I think this is something quite important in coupe-decale, this quest for future, this quest for values, and the answer is normally well, we don’t know where we’re going but we enjoy our life. I think to sum up this dimension of what could be expressed in coupe-decale, it would be that.

Ultimately a lot of coupe-decale sounds similar, and it’s not really considered a very sophisticated music, given its reliance on dancefloor chants and the like. Yet it’s also extremely successful, and you’ve also argued that it’s not as simplistic or shallow as it might appear on first impression.

Dominik Kohlhagen: I know that normally that is what is said about coupe decale and I wouldn’t say that it’s a very sophisticated music neither. But I think the way coupe decale grabs things from all sides like current events, like some words like recently grippe aviaire, bird flu – when bird flu appeared immediately the were some artists who made a song about bird flu, even if it’s not very intellectual what they had to say. It immediately translated some words which are in the air into something different. When you go through Abidjan this time, every time you hear this song you can see chairs flying through the air or people crawling on the soil. And now for example it’s Guantanamo . Of course it’s not very intellectual to make a song of Guantanamo which doesn’t express more than to put both hands together as if they were tied, but you have for instance these songs, every time somebody shouts “ guantanamo ” you have to put your hands together like if they were tied. This is something I find very interesting with coupé-décalé, it’s a very vivid and very reactive music. And it’s in this way I would say it’s intellectually rich. But of course there is no profound message behind it, and it’s not a very sophisticated music. But it’s very vivid and reactive music, and that’s something I think one should not underestimate.

And it’s become very popular at a time of conflict; in fact, Ivorian music has really for the first time taken over dancefloors all over Africa at exactly the same time that Ivory Coast, the country, has been going through this protracted political and military crisis, with debilitating social and economic effects.

Dominik Kohlhagen: There is quite some irony in this contradiction and I think this is probably one of the main reasons why coupe-decale is not very well seen by some people, is criticized as not being a very intelligent music. There is this contradiction and I think coupe-decale is really a music which permits people to project themselves in some kind of other world, this is something you can see quite well in a lot of videoclips. Many of them now are filmed in Abidjan, but especially the former clips 2 or 3 years ago, many filmed in capital cities in the or in Europe, and coupe-decale really celebrates some kind of other world that you can still find in Abidjan but only for very few people. And this is possibly one of the reasons why this music has had success, and even in other countries which are having very difficult situations presently, economically, this music shows another possible world in economic terms but also in terms of values. Everything is possible in this world of coupe-decale, and it’s possible in a very short time. If you look at somebody like Douk Saga, who died six months ago, who was the founder of coupe-decale, this is somebody who went to Europe with almost nothing, nobody knows really how he did but he succeeded to make another life possible even in this situation which is presently staying on in Ivory Coast. So this is some kind of social project, some fantastic social project which is transported by this music.

[bamiléké]

[Benny Da B']

[Chabine]

[Benny Da B']